I view my practice as an ongoing inquiry into the camera’s frontal relationship with material space. Oscillating between two and three dimensions, much like contemporary human interaction, I engage pictorial space to craft lifeforms that are simultaneously sculpture and photography. Within the work, I discuss modernism, cubism, and existentialism.

I am often thinking about the body — dysmorphia, the circulatory system, descriptors of emotion, innate movement, and the solidifying hybridization of the physical self and virtual self. Much like the qualities of flesh and bones, my mediums of choice — paper and wire — can be described as fragile, sharp, rigid, and malleable. Embracing the innate characteristics of these materials, the playful structures engage time, symbols of visual language, and the spatial qualities of shape and color. Further, I use the camera as a mechanism to capture (and collapse) the fleeting structures. The print becomes the sculpture itself, serving as the singular document of its existence. The print demonstrates that sculpture can be crafted in two-dimensions.